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Cuntpunch
Oct 3, 2003

A monkey in a long line of kings

precision posted:

Many pages ago, but I have to agree that the Mr. Jefferson twist was the weakest part of the game. Mainly because at the end of episode 1 I was like 95% certain that it was going to happen. It also feels a bit like DONTNOD wanted to include a singular identifiable "bad guy" since all the other "bad" people were arguably just victims themselves.

No sir, I didn't like it.

The Jefferson twist was choreographed so hard because he was the odd-man-out when you are in the office with the three of them and have to place blame. David at that point in the story is being mega-creepy. Nathan at that point is entirely a villain. But then you have idol-teacher and I probably just missed *some* combination of choices, but for the life of me I couldn't figure out exactly how/why Jefferson was even there, let alone as someone to *blame* for something. It really foreshadowed that he was going to be *something* later in the story.

Also, on the topic of the ending, the Club, etc:

I have the strangest recollection, and I am probably wrong, but during the initial vision of the tornado in class, I feel like when you get up to the Lighthouse there's a banner caught against something that has a 1913 date on it. I recall that it gave me the impression that there *had* been a previous major tornado in town, a long while back, and that the Vortex Club is a "hey lets celebrate local history!" type thing, possibly - now that someone mentions the idea the Prescotts know about the tornado - that they had somehow previously used the power to get where they are and suffered the consequence of the town being wiped out previously. But it hinges on that first vision being of *the past* and not *the future* - anyone who still has this installed take a quick look?

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Cuntpunch
Oct 3, 2003

A monkey in a long line of kings

Thanqol posted:

The ending was perfect.

Remember those times Chloe talked about burning down the town and leaving Arcadia Bay behind? That was what it was. It was a metaphor for that. It was about burning your personal connections and ties to a mundane school and predictable life to set off on a strange and terrifying adventure.

It wasn't about killing everyone in Arcadia Bay, it was about escaping Arcadia Bay. The storm/destruction is a metaphor for two lovers striking out on their own and leaving their tiny little hometown behind. Chloe talks constantly about getting out, going to LA, how much she hates it here and the choice is if Max goes with her or not. It's about choosing between growing up or staying a child.

It's not a story that needs to be taken literally. It's a game deeply rooted in poetry, symbolism and metaphor. Much like a Nolan movie it's about the music, beat and emotion rather than the literal facts on the ground.

Also it was a very Mage: The Awakening story and seeing if you had the will to walk the path of the Thistle, even through the Abyss.


I was reflecting on this post today on my commute. Mostly in what a *different* read on the ending I took away from this. Besides the usual arguments about the actual LOGISTICS AND RULES AND CONSISTENCY of the plot device(s), the internal dialogue you have to explain your final choice is interesting.

While I agree that I took away a certain coming-of-age rite-of-passage from the choice(and the story as a whole), I completely disagree with the interpretation that it's about leaving familiarity for adventure.

Instead, my read on the attempted question being posed is one of
"Are you willing to grow up, and accept that as an adult you need to sometimes let go of selfishness and look at the bigger picture"? As a sort of transition upwards on Kohlberg's ladder. Throughout the game Max is constantly faced with and waffles about with the question of "am I going to do what I want, what's right for me, out of some sense of self-gratification?" and it tends to blow up in her face from time to time. When you're finally faced with SUPER BFF or AN ENTIRE TOWN, it's that same question writ large: are you going to choose your own selfish interests over carrying the burden yourself so that others don't have to. It's sacrificing yourself for the greater good. And that requires a moral outlook bred from maturity.

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